Kevin Bronson on March 16th, 2014

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[File this entry under “Comfort Food”: Our guest blogger’s final full day at SXSW was spent not only eating a lot of free grub (the hotel’s excellent breakfast, the Aussie BBQ and a media luncheon at the Belmont catered by Salt Lick BBQ), but also feeding her soul with friends and familiars making good music. A most proper way to ease out of the week’s madness.]

Trina Green (@dharma69) on Saturday at SXSW:

I’m starting to think that I actually believe that listening to The Moth & the Flame makes me smarter … which probably explains why I refer to them as “cerebral” rock. Provo, Utah, is where they hail from, but they now call Los Angeles home. And the core of the band (Brandon Robbins, Mark Garbett and Andrew Tolman) have latched onto a sound that’s moody, challenging (the rhythmic shifts always impress) yet still manages to find that hook. So it was great to find them at Icenhaur’s for one of the Filter Magazine on Rainey Street showcases. Their set was typically SXSW-short but typically TMTF-tight ,and whatever distance those unfamiliar with TMTF were at when the set began, that distance was greatly reduced when the lead single from their “&” EP, “Sorry,” came out to play. Provo keeps proving to be a sweet little enclave of musicians and talent. I don’t know what they put in the water up there but someone should figure out a way to bottle and sell it.

The quintet interestingly known as Moon Taxi is one of Nashville’s musical gems. Call them a jam band if it pleases you – but not pejoratively – because when they move into stretches of musical interludes, it’s never boring, never mind-numbing and always a crack display of musicianship and songcraft. This late afternoon show at Palm Door on Sixth was no exception and was Moon Taxi playing to a crowd of those ready for their brand of Southern alt-rock as well as those who – halfway through the set – had found their new favorite band. Front man Trevor Terndrup is a spry thing and conducted the party with a bright eyed, bright smiled energy that’s always a little contagious. They represented their latest record, “Mountains Beaches Cities” and well as 2012’s “Cabaret” well and, oh yeah, closed with a not too shabby, highly amped rendition of Rage Against the Machine’s “Killing In The Name” complete with defiant middle fingers high in the air.

While not a huge fan of tacos (blasphemy, I know), I am a huge fan of the Silent Comedy. Final SXSW show for me, final SXSW show for them – let’s all finalize together. Only in Austin would a Wahoo’s Fish Tacos joint have not one but two stages, and not the kind that had to be built for the occasion of the festival. While still not into tacos but I am down with their dedication to live music as well as the Silent Comedy’s ability to fit themselves and their gear onto that tiny stage. And this show traveled the same route that all TSC shows take: sweat, foot-stomping and connection through the spirit of their revivalesque folk-rock. Theirs are the kinds of shows best enjoyed in the company of friends or those dear to you because they aim to move your heart as well as your feet. The Silent Comedy has come quite a ways since their first SXSW in 2011: musically as well as their ability to manage the chaos.